Whereas the Ah Boys to Men National Service-themed franchise is catered to heartlander tastes, the Mediacorp Ch 8 drama <When Duty Calls 卫国先锋> is a relationship drama which shines with the Singapore Armed Forces (SAF) as intriguing subtext. While the latter’s pop-rock theme song《以刚克刚》 by Desmond Ng 黄振隆 and 邱锋泽 is suitably gung-ho, it is 《以为的以为》 which resounds the way subthemes ideally should.
Last season, <Sing! China 中国新歌声> – renamed after 4 seasons as <The Voice of China 中国好声音> – kicked off stunningly with Singapore’s Nathan Hartono 向洋. He swept all 4 judges off their feet and finished an eventual 2nd. Incredibly, this season’s first episode again featured a Singaporean: Joanna Dong 董姿彦! Watch her inventive take on 恋曲1990 here:
I can’t believe I’m finally getting the chance to do something for my spiritual brother! Of course, I’m not the only one who has translated Yoga Lin‘s songs. Having only studied 3 months of literary translation, I can hardly claim my translation to be any good. Yet not only is <Empathy> my first lyrics translation; Lin Xi’s lyrics also encapsulate the life ethos that I seek and promote today. I guess this translation counts as extending Yoga’s music and ethos? Hope Yoga can keep guiding us fans into the unknown!
林宥嘉 – 感同身受 / Yoga Lin – Empathy
作词 Lyricist: 林夕 Lin Xi 👍
作曲 Composer: Skot Suyama
编曲 Arranger: Skot Suyama
制作人 Producer: Skot Suyama
Chinese is in my blood. It gives colour to my skin and forms the first legible sounds through my teeth. Despite my childhood prowess in math, there was a pride to being in a Higher Chinese class and, later, in entering Hwa Chong. That pride turned out to be a response to affirmation, to being formally recognized as excellent. In time, encircled by more excellent company, I began to appreciate Chinese assignments. They encourage us to form thoughts on matters of moral significance. They encourage our selves to participate.
Ah, I identify with Chinese.
On the night of 11 Jun 2016, I attended ‘Vocal Obsession VII – Next Stop: Forever’, a biennial showcase by my school’s premier acapella group, NUS Resonance. It was staged at the University Cultural Centre Theatre, a modest but intimate venue which can seat up to 455 audience members, including the elevated side galleries. The central seats filled up quickly, so I took my place along the right aisle facing the stage, midway up the main deck.
The theatre bustled with anticipation way before the concert began. The buzz was generated by large peer groups familiar with the student performers, and quickly put the smaller family and friend groups at ease. This was vital, as the seats were not only compact but also without dividers, which in most occasions might feel too close for comfort for many Singaporeans. The passionate atmosphere was fortunately matched by the air-con cool, allowing us to digest the informative song pamphlet and ensuring that we were all set when it finally hit 1930h.